Miami

Graciela Hasper

Curated by Ximena Caminos

Argentinian artist Graciela Hasper has designed a monumental mural—her largest and most ambitious to date—which covers all four levels of the north interior wall of the Faena Forum. Visible from outside through the Forum’s distinctive exterior pattern facade, the untitled mural juxtaposes slices of color to create circular forms that rise, move closer, fade away, and intertwine in what appears to be a continual flux.

Visible from outside through the Faena Forum’s distinctive exterior pattern façade, the color planes create a unique pictorial relationship with the building. Just as there are no two identical shapes in the façade of the Forum, there are no two identical forms in Hasper’s work. The asymmetrical qualities of both building and mural ultimately nd harmony within their own unique geometries.


Carlos Basualdo What were the determining elements in your choice of the form and colouristic structure of the mural?

Graciela Hasper When I first visited the Faena Forum, still under construction at the time, I had the feeling of being inside concentric forces. Seen from outside, I discovered the circle as a constructive force in the form of the building and in the lines created by the windows. I think it was necessary to establish a dialogue and create a theme. The paint is reduced to color, to pure forms that can be emo- tional, not in their content, but in the perception of them. In the work I look for the true pleasure of pure color and of curved lines: beauty for its own sake. Untitled suggests joining the colours of Miami’s Art Deco with the entire color wheel.

CB Is this the first time you’ve worked at this scale? What is the difference with murals you’ve done in the past?

GH This is the biggest mural I’ve done to date. Some of my other experiences have included painting immense canvases, either directly onto walls using scaf- folding or being suspended from above. In this case a space has been created, an empty slice circling the building’s perimeter, next to its glass-perforated ‘skin’, revealing and reflecting the work to the outside, to the street and vice versa: the mural is the place where the reflection of the vision of the street and of Miami Beach comes in.

CB Does it worry you that the viewer won’t see the mural in its entirety, but in a fragmentary manner?

GH On the contrary! It’s exactly what I look for in my work, that sensation of complete immersion in the painting, inside the color. The scale of the wall established the scale of the work, and in the same way the body doesn’t under- stand the complete design of the building when walking within it, the work is going to function in the same way. I love that each of the colors saturates huge areas and although the complete work can’t be seen from any one place, the diverse fragments can be perceived as you go up and down the stair hall.

CB What considerations in terms of the practical aspects were important when carrying out the work?

GH I think that being located in a public space, as is a stair hall, and in a place where the viewers who come to the Faena Forum Miami Beach will be circulat- ing led to us choosing printed paper stuck to the wall, which is a great way of installing and re-installing, depending on the needs. Untitled is installed on an incredibly high 20-meter wall, nearly the height of the building, running alongside the up and down 19-meter staircases.

CB Where would you situate this mural in the context of your overall work?

GH Untitled will be seen when you’re travelling by car or walking on the side- walk. I love it when a work invades the street or, shall we say, that it produces a reflection outside the space devoted to art. The work contains a fine paradox; it has the size of an outdoor advertising hoarding and yet it aims to give the visitor an intimate experience of color. Large paintings need distance to be perceived with the entire gaze, however this specific painting obliges us to look closely, at the fragment under observation, at the attention to detail. It’s fantastic when you get to create a significant work, of major dimensions, in a very visible place. For that reason it’s a critical juncture for my career and a moment to reflect on my entire body of work.

About Graciela Hasper
Graciela Hasper (b. 1966, Argentina) has explored a painting aesthetic that is clean and direct, marked by sharp orthogonal lines and bright color. Her most recent work has expanded to a larger scale, even encompassing architectural interventions, such as her latest site-specific piece, Notas de Luz (2016), in Buenos Aires. In 1994, Hasper participated in a landmark exhibition, curated by Jorge Gumier Maier, Nicolás Guagnini, and Pablo Siquier and held at the Centro Cultural Rojas de Buenos Aires, that was among the first to link the generation of 1990s artists in Buenos Aires with midcentury abstraction. The artist has also been shown in numerous group exhibitions, including My Buenos Aires, at the Maison Rouge, Paris (2015); Encuentros / Tensiones, at the Museo de Arte Latinoamericano de Buenos Aires (2013); Geométricos Hoy, Museo Caraffa Córdoba and Centro Cultural Bicentenario, among many others

Photo: Jorge Miño

Photo: Jorge Miño

Photo: Jorge Miño

Photo: Jorge Miño

Photo: Ivan Belaustegui

Photo: Jorge Miño

Photo: Bruce Damonte

Calendar

exhibitions

O Bicho Suspenso Na Paisagen

12 01, 2015 to 12 06, 2015

exhibitions

Los Carpinteros

12 01, 2015 to 12 06, 2015

exhibitions

Paraísos Desplegables

12 01, 2015 to 12 06, 2015

exhibitions

The Liminal Space Trilogy

12 01, 2015 to 12 06, 2015

exhibitions

Estudio Jurídico Mercosur

12 01, 2015 to 12 06, 2015

exhibitions

Fyodor's Performance Carousel

12 01, 2015 to 12 06, 2015

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GPS / Geometría Poética Social

12 01, 2015 to 12 06, 2015

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Mendoza walking

12 01, 2015 to 12 06, 2015

exhibitions

ángeles veloces arcanos fugaces

12 01, 2015 to 12 06, 2015

exhibitions

Once with Me (Preview)

12 01, 2015 to 12 06, 2015

exhibitions

Forms from Life

12 01, 2015 to 12 06, 2015

exhibitions

A Sight To Behold

12 01, 2015 to 12 06, 2015

exhibitions

Solar Light Geometry

12 01, 2015 to 12 06, 2015

exhibitions

ángeles veloces arcanos fugaces

12 01, 2015 to 12 06, 2015

exhibitions

Return to Tomorrow

12 01, 2015 to 12 06, 2015

exhibitions

Once with Me, Once without Me

12 01, 2015 to 12 06, 2015

exhibitions

No Permanent Address

12 01, 2015 to 12 06, 2015

exhibitions

Alejandro Guzmán: Creative Misunderstandings

12 01, 2015 to 12 06, 2015

exhibitions

Alina Ibragimova & Cédric Tiberghien

12 01, 2015 to 12 06, 2015

exhibitions

Biennale of Moving Images

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Evangelia Kranioti

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Karimah Ashadu

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Jenna Hasse

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Alessio Di Zio

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Sophia Al Maria

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Kerry Tribe

12 01, 2015 to 12 06, 2015

exhibitions

About the curators of Biennale of Moving Images 2016

12 01, 2015 to 12 06, 2015

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Interview: Boris Mitić

12 01, 2015 to 12 06, 2015

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Interview: Bertille Bak

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Wu Tsang

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Salomé Lamas

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Emily Wardill

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Pauline Boudry & Renate Lorenz

12 01, 2015 to 12 06, 2015

exhibitions

Biennale of Moving Images

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Brian Bress

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Massimo D’Anolfi & Martina Parenti

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Yuri Ancarani

12 01, 2015 to 12 06, 2015

exhibitions

Interview: Bodil Furu

12 01, 2015 to 12 06, 2015

exhibitions

About Biennale of Moving Images

12 01, 2015 to 12 06, 2015

exhibitions

Biennale of Moving Images

12 01, 2015 to 12 06, 2015

exhibitions

Biennale of Moving Images

12 01, 2015 to 12 06, 2015

exhibitions

Biennale of Moving Images

12 01, 2015 to 12 06, 2015

exhibitions

Cuerpo Lunfardo: Cecilia Bengolea, Jimena Croceri and Amalia Pica

12 01, 2015 to 12 06, 2015

exhibitions

ángeles veloces arcanos fugaces

12 01, 2015 to 12 06, 2015